EXPERIMENTAL TELEVISION CENTER Video History: Making Connections Conference (October 16-18, 1998) InterviewsConductedbyKathy High - 56 - HORNBACHER (Cont.): very good grades, and I could write, and things like that, so… It was very nice. And it gave me a lot of freedom, you know, to have that money when I was there. And… But I’d started out in film. And I was really interested in installation, and I had done an installation for my thesis show, my undergrad show, where I used fifty slide projectors. And so I was, you know— it was the predecessor… I was waiting and ready, let’s say. And then when I was in… I didn’t take a class from Woody the first semester, and then you know, there was lots of interest and curiosity and activity around what Woody was doing, and so I decided: Well, I should take a class from Woody. And that was the beginning of it. And I really liked video and I liked his approach. I liked, you know, his dealing with the medium the way he did. And you know, it was a modernist, I guess, approach at the time, to talk about the medium. And I had studied structuralism as an undergraduate, so that was good too, because that made me have a base when I got to Buffalo. And I decided that— I saw the trouble Paul had, you know, doing his film installations, and it was really his installation that really changed me, I think. You know, like, that wow experience. And so I knew I couldn’t do it, though, because the times were changing, and it was hard enough for him. So I switched into video. And I really liked it. But I was still using film and video together for a while, for about another year. And then I… And I started going to the TV Center. And that made a big difference.
EXPERIMENTAL TELEVISION CENTER Video History: Making Connections Conference (October 16-18, 1998) InterviewsConductedbyKathy High - 57 - HIGH: And what years were these, then? HORNBACHER: My first residency at the(?) TV Center was fall of 1976. HIGH: Hm. HORNBACHER: Yeah. And I was still working in film. I had a residency at Cinemedia in Rochester, to edit a film. And I edited every three frames, and I decided: Oh, I don’t think so. (laughs) I think I’ll use David Jones’ sequencer instead. (laughs) So, yeah, exactly. And… I think all this talk about community is very interesting, ’cause I do think that that— I still feel that this is my community. And even though I don’t live in New York anymore, I come back for residencies. These are the people that I talk to about ideas. And it’ll be that way for life. You know, it is a community. And so that has a lot to do with sustaining you, you know, when you have that. And you know, you have other communities, too, but… It feels good. And… Everybody’s sort of a… You know, there’s a tension, I think, that I kind of was talking about today, and that is that if you decide that you’re gonna do your work in the gallery environment, that some people are going to say that you’ve sold out and you’ve kind of left, you know, the more activist base of the field. And I was trying to say that we’re all cultural workers, and wherever we… You know, it’s what’s going on in your mind, and how you approach this— Ralph’s use of attitude about it. Because you remember Chrissie saying how difficult it was for museums to deal with this work. And so we’re still, when we show in museums and galleries, we have to